01 TOP Logo


Hi Everyone. Welcome to our new EMQ’s interview with Fort Myers, Florida based Rock N Roll band The Electric Mud! Huge thanks to guitarist Constantine for taking part!

What is your name, what do you play and can you tell us a little bit about the history of the band?

Hey guys! I’m Constantine and I’m the stage left guitar player

How did you come up with your band name?

Electric Mud is a really forward thinking blues record Muddy Waters put out back in the day that we thought on principal really is kind of a mission statement for what we do. We wanted to take the big riff rock and roll we grew up on and push it forward in new ways, forward thinking but traditional.

What country are you from and what is the Metal/Rock scene like there?

We are from Florida in these United States of America. It’s a killer time to be in heavy music right now, there are a lot of great bands across the board out on the road putting on great shows and pushing each other to succeed!

What is your latest release (Album, EP, Single, Video)?

We currently have three spanking new tracks up on Bandcamp while we shop our next album to labels.

Who have been your greatest influences?

As a human? My grandmother! As a musician? Gotta be Lemmy, the man was the walking embodiment of rock and roll.

What first got you into music?

Neither of my parents are musicians but they both love music and have killer taste. There was a lot of great music coming from the stereo that as a kid I just couldn’t ignore.

If you could collaborate with a current band or musician who would it be?

Shotgun Sawyer out of California just dropped a nine pound hammer of a record this year. It’d be a blast to work with them in any capacity.

If you could play any festival in the world, which would you choose and why?

Roadburn! Who could turn down the sickest heavy music festival in the world?

What’s the weirdest gift you have ever received from a fan?

We had a dude show up to a show with a rack of baby back ribs for us from out of the blue once. That was the weirdest coolest shit ever.

If you had one message for your fans, what would it be?


If you could bring one rock star back from the dead, who would it be?

Duane Allman, easy!

What do you enjoy the most about being a musician? And what do you hate?

Being a musician is the greatest job in the world, by far. If there were anything to hate, is that you still need a job now. It’s my dream job but it’s still a job.

If you could change one thing about the music industry, what would it be?

Hell man it’d be nice to make real money sellin’ records like they used to.

Name one of your all-time favourite albums?

“Crack The Skye” by Mastodon.

What’s best? Vinyl, Cassettes, CD’s or Downloads?


What’s the best gig that you have played to date?

We played an absolute eager in Memphis last year with The Heavy Eyes and Native Blood, two bands you absolutely have to check out.

If you weren’t a musician, what else would you be doing?

Man I’d be back in the skilled trades installing kitchens. Maybe I’d have a stamp collection.

Which five people would you invite to a dinner party?

Willie Nelson, Brian May, Matt Pike, Joe Duplantier and The Reverend Billy F. Gibbons.

What’s next for the band?

Tour! We’re out for five weeks starting end of August.

What Social Media/Website links do you use to get your music out to people?


Jaffa Cakes! Are they a cake or a biscuit?

Man I have no idea, I even tried to cheat and use Wikipedia and they called it a ‘biscuit sized cake.’ That’s brutal.

Thank you for your time. Is there anything else that you would like to add?

Raise hell and praise Dale. Thanks so much for takin the time to check us out y’all we appreciate it.

02 BOTTOM The Electric Mud

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Thunderfuck And The Deadly Romantics – Dirty Sleazy Rock ‘N’ Roll


Thunderfuck And The Deadly Romantics – Dirty Sleazy Rock ‘N’ Roll
Cargo Records UK
Release Date: 26/07/2019 (Europe)
Running Time: 41:31
Review by ‘Dark Juan’

Oh God. Oh my good God. Jesus Christ in a chariot driven sidecar. These are a bunch of devilishy handsome chaps, aren’t they? I haven’t seen faces that craggy since Mount Rushmore or beards quite so luxuriant since Uncle Albert’s on Only Fools And Horses. Vocalist Thunderfuck (a rather splendid name which has already earned a bonus point for sheer wonderfulness and audacity. Especially with that face, seeing as he looks like he has charged at full pelt into a brick wall) both makes me want to cheer him on with a beer or arm myself for imminent violence. I have not yet decided which, although I have come to the conclusion drinking heavily is the way forward this evening. But that is my general rule of thumb for a Saturday night in the company of my millions of adoring minions. Yes, ok, there’s probably two people hanging on my every word worldwide. Quit harshing my buzz, motherfucker.

Hello, dear acolytes, I’m Dark Juan and I am currently dying of heat exhaustion as it is 11pm at Dark Juan Towers and it is STILL 25 fucking degrees. I am not even in my invocation robes this evening. I’m wearing nothing but denim cutoff shorts and a rictus that could only loosely be described as a smile because I’m sweating my beer out as fast as I can down it. Sir Igor Egbert Cleavage-Hoover (being his full name – shame he is not KC registered because I would fucking LOVE to write that on the registration form) is laid next to me, alternately emitting the kind of smells that were outlawed by the Geneva Convention or begging for my beer. Satan has a better chance of getting a checkout job in Asda than Igor the Evil One has of getting my beer, the little alcoholic bastard. He likes gin. A lot. Sir Zeusington Zeus, KCVQ, VC, MM, DFC and Bar has sparked out across most of my sofa, leaving me a square inch to perch on as I write this nonsense, and Hodgson The Living Breathing Biological Warfare Machine has taken himself and his weaponised arse upstairs to wait for Mrs. Dark Juan to emerge from the bathroom. I swear that woman is half mermaid. She’s never out of the sodding bath.

Anyway, this mob of Canadian horror film extras (sans special effects makeup) are releasing “Dirty, Sleazy Rock ‘n’ Roll” on July 26th and I am supposedly here to tell you about it, aren’t I? We have already concluded that this band and the lead singer in particular have a fucking awesome name and I like it a lot. The music on the record is pretty run of the mill heavy rock mixed with the odd punk riff and attitude. Thunderfuck is not what you would call an accomplished singer either. In fact he has a short of cheery, beery and hoarse delivery that rather…… approximates the note he is going for rather than necessarily hitting it, and there are occasions where he just doesn’t fucking bother. This is NOT negativity, however. Rock n roll and especially metal has forgotten its roots and the fact that us metal fans are one big, drunken, happy family – at its most cheerful with some filthy music playing and two or three hundred of us are in a field dying of alcohol poisoning and projectile vomiting competitions. THIS is what Thunderfuck and The Deadly Romantics are about. They do not give two fucking hoots about precision, your worthless fucking opinion, technical ability, tuning, or any of that shit. They are here to play rock and roll and party. I am here to tell you that this record is a fucking hilarious soundtrack to your Saturday night drinking and party treats and quite simply have that same level of obvious fun, enjoyment and sheer dickheaded joy in what they are doing as what GWAR used to have. The band are musically most similar to the Love Commando himself and his crew (Zodiac Mindwarp and The Love Reaction in case you’re a fucking dirty philistine from hell who has never heard Britain’s greatest rock and roll export. I, Dark Juan, Groove Ipssisimus and Sex Fuhrer, command YOU, false metaller, to listen to Back Seat Education and Prime Mover (NOT THE GHOST ONE!) repeatedly and then you will understand the peculiar, childish genius of Thunderfuck and his mob of freaks), mixed with the punkiest of riffs and the party hard aesthetic of Andrew WK. Lording over it all is the demented ringmaster that is Thunderfuck, a man born not to sing, but to command an audience. It is very easy to imagine this band in a live setting and the lyrics are just funny as fuck. They are very misogynist in places and in others downright perverted but I have the sense of humour of a twelve year old, so I have been laughing my arse off for the past hour and although this record is absolutely from a musical quality point of view a fucking disaster area, it has that amazing thing called entertainment… Excuse me. I have to attend to something. Mrs. Dark Juan has interrupted my lyrical flow to make me sate her thirst for horror. So as she has chosen to watch a horror film on an ENTIRELY LEGAL (Disclaimer: Could possibly be lying. Then again, might not be.) streaming site and has a kind of Luddite electronic warfare field that completely fucks up any electronic entertainment device or internet connection known to man (anything that works on 19th century technology, like, I dunno, fucking goat chariots or spinning wheels or ploughs and oxen and shite, she is groovy with) and I have to step in otherwise her computer would have more viruses than a fucking Ebola victim with AIDS, Gonorrhea and a fungal nail infection. Where was I? Oh, yes.

Thunderfuck and The Deadly Romantics are almost ridiculously entertaining and I love and hate them at the same time. I love them because they are fun, raw and rock n roll in distilled and super potent form, but as an actual musician (yeah, I can play instruments. My old band might not agree, but they are just wrong ok?) they set my teeth on edge, especially Thunderfuck and his approximate approach to singing. This, however, has not ruined my enjoyment of a record that sets new standards for beer soaked fun in a world of metal that’s getting far too serious and po-faced for its own good. I love this record. It’s ironic I love this record because I recently reviewed Warrior Soul’s latest album and it was an assault on my senses and my intelligence and it was rather like this one, but Kory Clarke has fuck all sense of humour, whereas these guys are all about the fun and the party. I have a full and all abiding hatred of all ballads that don’t match up to Skid Row’s 18 And life but even the ballad on this record (charmingly entitled Go Fuck Yourself) is fucking brilliant. Every song on this record is just out and out party music.

Thunderfuck And The Deadly Romantics, I conclude, are awesome. Buy this record, be appalled at how sloppy it is, but then appreciate it for the sheer amusement value it generates. I defy you to not smile when listening to this record. If you don’t there’s summat wrong with you. Bon soiree, mes amis!

The Patented Dark Juan Blood Splat Rating System has been educated, amused and edified and awards Thunderfuck And The Deadly Romantics 8/10 for full on rock n roll joyfulness.

01. Drink this Party Dry (This is Thunderfuck at his most excruciating.)
02. I’m Not In Love (Certainly not a cover of the 10CC classic!)
03. Anal Annie (Almost pathetic but still amusing if you are an overgrown child like me.)
04. Spray My Love (Could be a WASP song with that title.)
05. The Finger (Probably not to do with V For Vendetta.)
06. Attention Whore (Thank you for noticing, Thunderfuck. Yes, yes I am.)
07. One More For The Road (Inspired by Boz Scaggs, by any chance?)
08. Let’s Fuck (No thanks. I’ve seen your face.)
09. Go Fuck Yourself (That would be my standard answer to the above question, unless Gemma Arterton or the utterly delectable, delicious and delightful Beth-Ami Heavenstone was doing the asking…)
10. Get My Hole (Not on your fucking nelly, Thunderfuck.)
11. Jaegerbomb (Give me 10 of the fuckers. To be fair there is a serious message to this one dressed up in the lyrical shenanigans – Thunderfuck was developing a serious problem with drinking and quit Jaegerbombs in order to survive.)
12. #Me Too (For rock n roll sexiness, then yes. Fuck yes.)

Thunderfuck – Vocals
Johnny Douchebag – Guitars
Jim McPain – Guitars
Ryan Cumsock – Bass
George Leghumper – Drums



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Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Jared James Nichols – The Waterfront, Norwich, UK – 16/07/2019

01 JJ Nichols (Top)

Jared James Nichols
The Waterfront, Norwich, UK
Review by Paul Monkhouse

Jared James Nichols has built up a solid reputation as one of the leading lights in modern blues rock, his firey gumbo of influences winning the hearts of audiences during tours with Glenn Hughes, Lynyrd Skynyrd, UFO, Saxon, Blue Oyster Cult and ZZ Top amongst others. It speaks a lot about the guitarist that he not only held his own against such legendary artists but gave them all a run for their money and on many nights blew away the headliners. His latest tour of the UK is part of a diverse triple band line-up that also includes Toby Jepson’s 70’s style hard rocking Wayward Sons and the topped-billed game-changers Living Colour. Despite the huge talent on show, Nichols opening set was the one that left the most lasting impression and brought the largest number of converts, all of whom stunned by the power of this three-piece.

Despite the early start time, a sizeable crowd was already pushing against the barrier as a siren rang out and Nichols strolled onto the stage, ripping into opening song ‘Last Chance’. This was rock ‘n’ roll as dirty and loud as you could have wished for, the muscular playing reminiscent of Cream at their most forceful but with an edge that spoke of years spent playing in rough bars all over small towns in the States. There was a real ferocity here that screamed to be let loose, all whilst being totally controlled by a band who knew exactly what they were doing. This juxtaposition of the feral and the crafted in their performance was such a fine balance that it equally thrilled and amazed, the adrenaline rush of being strapped into a turbocharged supercar driven by a Nascar champion.

‘Don’t Be Scared’ was a blistering display of heavy blues and saw Nichols flicking his guitar lead to slam and dance across the strings as he played the solo. This wasn’t the only extraordinary thing that struck about the performance as it was impossible not to marvel at how he played with such dexterity and heaviness without a pick, his right hand wrenching and dancing on the frets bereft of a plectrum to take the strain across the tight wound steel strings of his beloved Les Paul. The funky ‘Honey Forgive Me’ dripped with a raw passion and ‘End of Time’ rode along with a loping rhythm whilst conjuring a sound that brought to mind something akin to Jimi Hendrix jamming with Led Zeppelin.

02 JJ Nichols (Middle)

The heads-down boogie of ‘Baby Can You Feel It’ really swung as bass player Ronnie Elvis James and drummer Dennis Holms were watertight, James a study in trucker cool whilst Holms was a mass of flying blonde hair. Nichols himself cuts an imposing figure, standing well over six feet tall and all muscles, tattoos and hair and it’s one of these tattoos that catches the eye: a curled snake on his left arm. Whilst a first glance looking like the one Metallica had on the cover of the ‘Black Album’, this was actually part of the Gadsden Flag, depicting a coiled rattlesnake ready to strike and such it was with the jabs and controlled ferocity of his playing on new single ‘Nails in the Coffin’. The track opened to the sound of rolling thunder and rain and continued in this vein, a brooding and atmospheric track full of dread and dark power, providing an appetite whetting taster of things to come.

‘Hardwired’ may have shared a title with the San Francisco thrash giants but this was purely titular as the track came over as the love child of Whitesnake and Ted Nugent, all lascivious guitar work and macho strutting but none the worse for either. Closing the set was a staggering cover of Mountain’s classic ‘Mississippi Queen’, replete with the greatest cowbell playing in rock outside of ‘Don’t Fear the Reaper’ and a freshness that captured the vitality of the original but turned up several notches. Closing with such a well-known and much-loved song was a gamble but the fact that their own material can stand shoulder to shoulder and not feel out of place with it speaks volumes. The future, seemingly, belongs to him. All hail the new King of Blues Rock.




03 JJ Nichols (Bottom)


Disclaimer: This review is solely the property of Paul Monkhouse and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.


Imperial Jade – On The Rise

Imperial Jade - On The Rise Cover

Imperial Jade – On The Rise
Release Date: 18/01/2019
Running Time: 44:37
Review by Tsarina Wilson

Imperial Jade are five young friends who also happen to be rock and roll lovers from Maresme province in Barcelona. The band was born in 2012 by Francesc Lopez (drums), Alex Panero (guitar), Arau Ventura (vocals), Hugo Nubiola (guitar/keyboard) and Ricardo Turro (bass) with a sound that can be described as 70’s rock with a hint of country rock and a twist of groove rock.

In 2015, the band released their first record “Please Welcome Imperial Jade” which hit several lists of best releases of the year. Throughout 2016 Imperial Jade toured throughout Spain with the album, performing gigs all booked by themselves, they opened for Californian band Rival Sons in Barcelona and for Swedish band EUROPE at two concerts given in Madrid and Barcelona, among other great bands like Ten Years After or Michael Monroe.

In 2017, the band recorded two new singles on analogue tape at Music Lan Studios which was then mixed in Nashville USA by the sound engineer John Netti (Rival Sons, Europe, Black Stone Cherry, Bon Jovi) and mastered at The Room Studios by Gorka Dresbaj. Throughout the year the band played different venues and gigs and appeared live on television for the first time at Los Concierto’s de Radio 3 of RTVE (Spanish TV channel) while also playing the main stage of Rock Fest BCN, sharing with bands like Aerosmith, Deep Purple, Airbourne and Alice Cooper.

With crystal clear vocals, this album is rocky, bluesy, enchanting but with a real edge to it and even a hint of country groove with ‘Sad For No Reason’. With a foot tapping beat, it’s a fun song which shouldn’t work but does and then you have ‘Dance’ which is much rockier.

‘The Call’ is yet another completely different track which starts very psychedelic, yet the harmonies take you back to rock so there’s no telling what you will get next! They, almost, want to keep you on your toes and just when you think you have got the album sussed; it turns in a completely different direction again.

These guys have a soulful yet passionate persona about them. There is so much feeling in the album, with epic guitar riffs, changes of pace, and changes of direction it’s almost like they have layered everything and you must get through all the layers to get to the end of the album. And just as you think you understand it; you get the upbeat and rock n roll guitars of ‘Heatwave’ and if you aren’t dancing around to this track then I will be surprised. It’s an epic song for summer days blasting out of the car.

Imperial Jade certainly give you value for money with so many epic songs covering so many different genres all on one album. This is definitely not your usual run of the mill band, which is very refreshing. It’s rock but light and a pleasure to keep listening too. It’s edgy, gritty, enchanting yet strong without being overpowering.

1- You Ain’t Seen Nothing Yet
2 -Dance
3- Sad For No Reason
4-The Call
5-Glory Train
6-Lullaby In Blue
7-Keep Me Singing
8-Heat Wave
9-Rough Seas
10-Struck By Lightening




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Disclaimer: This review is solely the property of Tsarina Wilson and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Rebecca Downes – The Met Lounge, Peterborough – 29/03/2019

01 Rebecca Downes

Rebecca Downes
The Met Lounge, Peterborough
Review by Paul Monkhouse

Many bands have turned to acoustic sets in the past but very few as well as the Quireboys, a band with the charisma and material to make it really work for them. When this is perfectly teamed with an opening slot by the brilliant Rebecca Downes it proves to be an evening when all you can do is be swept away by the music.

Having toured regularly up and down the length and breadth of the country with her full band playing support to bands such as Magnum, tonight sees her shorn of her full band but joined by partner in crime guitarist and vocalist Steve Birkett. The duo fill the sound with ease and you can’t help but warm instantly to Downes, her great humour and down to earth personality shine, displaying not a shred of over inflated ego. ‘Take Me Higher’ is an excellent showcase for her soulful vocals and really got the attention of all there. As has been proven many times before, huge talent isn’t always enough but needs to be matched with great quality material to really highlight the artist. The songwriting team of Downes and Birkett have that by the bucketload. Next song ‘It’s Not Easy’ is a prime example of this as it twists and turns in unexpected directions whilst the stripped-down acoustic arrangement really lets the vocals shine.

Refreshingly, Birkett doesn’t just play second fiddle to the singer as the two are evenly matched in musical chops and it comes over as a perfect partnership. There is a genuine warmth exuding from them and when showcased in such great fare as the sparkling ‘Waving Goodbye’ it’s pretty unbeatable. The richness of the voices glides perfectly over a hooky chorus, as the track has a classic, almost pop, soulful tone. It would have been difficult to follow that gem but the Radio 2 playlisted ‘Sailing on a Pool of Tears’ ups the ante even more. A big, spellbinding ballad, it contains elements of chilled flamenco and is both instantly catchy and heartrending.

The pace changes with ‘1000 Years’, an upbeat blues number with a truly cocky strut that easily dispels the narrow view that the blues is solely downbeat tales of suffering. The short set finishes with the title track from last album ‘Believe’, another forceful wake up call that is both defiant and life affirming. Featuring an acoustic breakdown, its sense of dynamics proving it was the perfect number to finish on. Returning later for an incendiary duet with Spike for the Quireboys encore, Downes was the ideal choice as touring companion for these dates and was clearly having a ball on the road with a band she’s long been an admirer of. With her expressive Midlands accent she doesn’t sound like one of the Windsors in conversation but, make no mistake, when she sings Rebecca Downes is UK Blues royalty. If you want to know the roots of hard rock and metal, get yourself into the blues. You really can’t go wrong with the lethal combination that this partnership offers of filthy barroom rock ‘n’ roll and soul. Catch them when you can.




02 Poster 2019


Disclaimer: This review is solely the property of Paul Monkhouse and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.


The Quireboys – Amazing Disgrace

Amazing Disgrace Cover

The Quireboys – Amazing Disgrace
Off Yer Rocka Recordings
Release Date: 05/04/2019
Running Time: 46:25
Review by Paul Monkhouse
Rating: 10/10

The Quireboys aren’t strangers to the knocks and scrapes of rock ‘n’ roll but it’s been an unbelievably long, hard road to get this album out due to the ongoing issues with Pledge Music, initially the chosen platform for this release. Thankfully you can’t keep a good band down and due to the immense hard work by the band, their team and the fans this has now come out and stands as a testament to their street fighting spirit. Driven by a passion to stretch themselves, “Amazing Disgrace” shows a band that’s both fearless and incredibly fresh, highlighting their undoubted flair for writing great and timeless songs.

From the opening notes of ‘Original Black-Eyed Son’, this is something really special. The song wastes no time in getting into a great riff and it just keeps on growing with some superb keys, Stax-like brass and female backing vocals adding to a fantastic, dirty rock ‘n’ roll barroom number that has both grit and polish. Really setting their stall out, you know that just two minutes into this that it’s an album The Quireboys can be proud of. Whilst the band can really rock out when they want to, as anyone who’s seen their electrifying live shows can attest, this release broadens their palette and adds some real colour but doesn’t sacrifice any of their fire. Next track ‘Sinner’s Serenade’ perfectly highlights this with it’s powerful, big start and yet more layers of sound as it really drives along, propelled by some teeth rattling drums and some superb slide guitar at the end.

Already a firm live favourite, ‘Seven Deadly Sins’ has a funky strut and the peerless guitar work of Guy Griffin and Paul Guerin as they show off the sonic swagger that has a real stake in proving their confidence whilst not being too flash. This is also echoed in the titular ‘Amazing Disgrace’ that boasts a real late 60’s / early 70’s vibe as Spikes distinctive vocals dances throughout and the track ends by morphing into Southern Hard Rock. Yet another bold change of pace comes with ‘Eve of the Summertime’, a beautifully crafted ballad, that is ice cream sweet and sparkles with sunshine whilst retaining an edge. Very evocative of that season, you could hear it any time of the year and immediately be transported to those hazy, lazy days where life just consisted of sitting on a beach, drinking beer with your friends.

‘California Blues’ picks up the pace again and is a perfect reminder of why the band was chosen to support Guns ‘n’ Roses and the Stones. This would be the perfect soundtrack to cruising along Sunset Strip and you can clearly picture the band whipping up the crowds at the Whisky in downtown L.A. ‘This Is It’ brings an almost country feel and expands on the great storytelling that Spike and Co excel at. Boasting some more very fine keys from Keith Weir, this also benefits from some excellent fiddle playing and if you wince at the mere mention of that instrument then this track will surely convert you. ‘Feels Like A Long time’ brings back a Rolling Stones feel and is tailor made for playing at massive stadiums to a sea of people, waving arms held aloft in appreciation of its grandeur.

Yet more swagger and stomp form the brilliant ‘Slave Number One’, its chugging riff building into a juggernaut that shows that you don’t need to be full-on to be heavy. ‘Dancing in Paris’ is another great ballad, its fragile and tender vocals matched perfectly to the tasteful and tasty guitar work. The album closes with a bang as ‘Medusa My Girl’ boils out of the speakers. Incredibly powerful, this is a maelstrom of instruments that warn of a coming storm that continues to get darker as Spikes howls through the wind and rain. With a real Celtic feel, the Quireboys have chosen the perfect track to end the album and yet again show why they are one of the greatest rock ‘n’ roll bands this country has ever produced. The Quireboys may, at times, have been heavier than this release but they have never been better. As they say themselves: “This is Rock ‘n’ Roll”. One of the most vital albums of the year, you need ‘Amazing Disgrace’ in your collection.

01. Original Black Eyes Son
02. Sinners Serenade
03. Saven Deadly Sins
04. Amazing Disgrace
05. Eve Of The Summertime
06. California Blues
07. This Is It
08 Feels Like A Long Time
09. Slave #1
10. Dancing In Paris
11. Medusa My Girl






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Disclaimer: This review is solely the property of Paul Monkhouse and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.